This article originally appear in Loudoun Magazine, June 2003. Copyright 2003, Eden Schneider.

There is that moment in every parent's life when they look into the eyes of their child and truly see, in one deep breath, the person inside of the tiny body. It is a moment of complete understanding and pure wonder about what innocence means – a moment that forms the shadowy bridge connecting all that is, and will someday be, in the child you call your own. It is also a moment so easily lost to time that the memory of it sometimes causes a sweet, sad ache in the heart. “If only they could stay that way forever, or even for just a bit longer,” you may think.

Nationally recognized and locally based portrait artist, Timothy Chambers, is a master at stopping time – freezing in oil and canvas all that is beautiful and wild in children. In this, he gives parents the gift of that moment to cherish long after the children have grown up, possibly to become parents themselves. His intricate and intuitive paintings and pastel drawings of children with their pets and toys – as well as corporate portraits of adults in their suits – have won him international acclaim and honors. More important than awards, says Chambers, is his sense of fulfillment when he knows he has accurately portrayed his subjects as real and complex souls.

“My philosophy about art, and about life in general, is that I look at who I'm painting as absolutely precious creatures that God has created,” says Chambers. “When I look at them, that's what I see, and when they look at me, I want them to feel special.

“When I paint a corporate portrait, I can include their stature to help show who they are and their image, but what I really try to do with children is show them with nobility and grace and class that does not compromise them as children. That's really what makes a great portrait to me.”

Chambers says that gaining a child's trust is essential in order to rightly see the glimpses of divinity he attempts to capture in his work. An initial contact with parents to decide on a formal or outdoor setting, compositional and medium preferences, and the overall theme of the work is the first step in getting to know the children and their personalities. Because Chambers works primarily from photographs, the time he spends with families before he begins his studio work is vital.

“When I'm talking to parents, I always want to know, 'what kind of child is this?'” he says. I'm always looking for adjectives to describe this person. To know something about them beyond just how they look.”

While his portraits may be rendered in oil, pastels, or charcoal, and the theme and formality may differ for subjects, the procedure Chambers follows is generally the same for each work. After discussing client preferences over the phone, Chambers visits the family the night before the sitting. Clients first look through his portfolio, then focus on color and design. He takes this opportunity to meet the child or children, and establish a friendly relationship with them by cracking silly jokes and asking about their favorite things. He also observes the way they interact with the world. By the time they meet again the next morning for two to three hours of photography time, Chambers says they've all begun to feel fairly comfortable with one another. “Indoor” paintings usually require only one sitting, while outdoor settings may require two or three in order to accommodate light and color changes. Chambers says the time he spends with clients is what enables him to create true-to-life renderings.

“I try to really get to know the people I'm painting. When I'm talking to parents, I always have one eye on the child,” says Chambers. “I try to get to a point with them that I'm eavesdropping on their lives. I want to learn as much about them as I can and maximize the time I have with them. Clients generally offer me the latitude to do these things that capture the child.”

Chambers, who is the son of the renowned Chicago-based portrait artist, William T. Chambers, says his experience as a father has helped him to grow in both his work and his relationships with his subjects. And his faith as a Christian has enabled him to learn patience, tolerance, and grace from the children he meets.

“Getting to know these kids, I've had some who were shy at first, and then would ask if I could tuck them into bed that night,” says Chambers. “That says a lot about the kind of connection I try to have with them.”

Throughout his 14-year career, Chambers says he remembers almost every child he's ever sketched or painted. From the small, stoic child who posed like a “miniature stockbroker,” tothe the three-year-old twins in their pajamas on their parents bed, the artist says he tries to tell the story of his subjects and the lives they lead. Sometimes, he must reconstruct the fragments of a life already past, as in the case of a posthumous portrait Chambers painted from old photographs and a grieving family's recollections.

“That was very difficult, but I wanted to try to give this family something they could hold on to,” he recalls. “Many times, parents will say, 'I want to capture my child now, but take your time painting it.' They just want to catch that before it's gone.”

Timothy Chambers, and his wife, Kimberly, live with their children, Lindsie, Drew and Chloe, in Philomont, where Chambers is now building his new portrait studio.

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